Spatial Arrangement

A Among the objects before us we notice precise relations of distance. We are accustomed to grant general validity to the perspectival order that seems to correspond to their visible presence.

Same elements of this arrangement run counter to a perspectival notion of space: Our experience is not first focussed an size or proximity but an intensity.

From the general environment, processes, sounds and other phenomena are isolated and presented in a certain location: The situation we have entered is also the essential message.

The effect of formal design cannot be captured by representation; it is, in its essence, a real-time process.

B A mirror and a transparent glass pane are placed vertically on the floor of an exhibition space. Two electronic screens, arranged in certain positions in relation to each other, reproduce the appearance of a certain section of the city (in the trigon ’69 version in Graz: street bend Burggasse-Hofgasse). By the particular arrangement of the cameras and screens, the actual events taking place in the cameras’ field of vision are reproduced in a modified sequence. (A right-to-left-movement in the field of vision begins, an screen, in the center, leaves the left monitor an the left side while appearing on the right side of the right monitor; it finally disappears in the center where the representation started.) Everyday broadcasts by a radio station are audible at a low volume.

On a closely-knit net, the static projection Putting Allspace in a Nutshall is visible from both sides.

Letters on the mirror surface form the sentence: Putting Allspace in a Notshall and the name J. Joyce.

Speakers and screens have been removed from their housings.

A person walking around can see the objects of the environment and him – or herself in the mirror surface.

The complete arrangement is accessible from all sides. lt can be turned on and off.